DOCSLIB.ORG

Art and Society in Modern China--A Review Article Author(S): Ralph Croizier Review By: Ralph Croizier Source: the Journal of Asian Studies, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art and Society in Modern China--A Review Article Author(S): Ralph Croizier Review By: Ralph Croizier Source: the Journal of Asian Studies, Vol Review: Art and Society in Modern China--A Review Article Author(s): Ralph Croizier Review by: Ralph Croizier Source: The Journal of Asian Studies, Vol. 49, No. 3 (Aug., 1990), pp. 579-602 Published by: Association for Asian Studies Stable URL: http://www.jstor.org/stable/2057772 Accessed: 12-08-2016 21:03 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Association for Asian Studies, Cambridge University Press are collaborating with JSTOR to digitize, preserve and extend access to The Journal of Asian Studies This content downloaded from 74.217.196.82 on Fri, 12 Aug 2016 21:03:08 UTC All use subject to http://about.jstor.org/terms Figure 1. Wu Hufan, Mountain Peaks in Mist, 1956, guohua (MS 1956, 6:36). 579 This content downloaded from 74.217.196.82 on Fri, 12 Aug 2016 21:03:08 UTC All use subject to http://about.jstor.org/terms Figure 2. He Kongde , 111 Suspension Bridge on th1e ._ Dagdu River, oil on canvas sa (collection of the artist). _ ...~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~...... :M. *~ ~ ~ ~ ~~Fgr 3. Wu Hufan ' 6 --..^..:... s<> :' ,,~~~~~~~~~~~~~~~~~~~~~~~~. ~~~~~~~~~~~~~~~~~~~~~~~~~~~.,L ..:...:,, $.; N | e ~~~~~~~~~~~~~~~~..........:. ..''g.. ;.... ...:.... .:.BS...... .D.'. :........ t ; X _ '~~~~~~~~~~~~~~~~~~~~~~~~. .......:'.. ' . _~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~: i " .. ...... .. __~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. ; . ... .... _ _ , ................................~~~~~~~~~.. .... .... .... .. ' .i M ..~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. .... .. ... .........' t.... ..' _ | '''S~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ l.... .. ... AF i s 1..f...z...,~~~~~~~~~~~~~~~~~~~~~.. ....... ... ... .. |- C '..~~~~~~~~~~~~~~~~~~~~~~~~~... .. ... X . .... .... ....... This content downloaded from 74.217.196.82 on Fri, 12 Aug 2016 21:03:08 UTC All use subject to http://about.jstor.org/terms Figure 4. Wu Qizhong, Before the Meeting, 1974, guohua (Guowuyuan 1975:n.p.). Horses, 1940, guohua (Hua 3). .~~~~~~~~~~~ . *.. * :!A - 5815 This content downloaded from 74.217.196.82 on Fri, 12 Aug 2016 21:03:08 UTC All use subject to http://about.jstor.org/terms Figure 7. (right) Qi Baishi, Shrimp, for Ai Qing, 1949, guohua (CP, 1953, 2:16). Figure 6. (below) Lu Yanshao, Teaching Mama to Read, 1956, guohua (MS 1956, 7: cover). s S U a E _ g $ S fr>'~~frr= 4a;RM~~~~~~~~~~ tj f V E _ - ERE4- *t- j ^ ^ r - r ; i;L=_R_582? Figure 8. (left) Pan Tianshou, , | Corner of Lingyan Gully, 19 5 5 guohua (MS 1956, 6:5), This content downloaded from 74.217.196.82 on Fri, 12 Aug 2016 21:03:08 UTC All use subject to http://about.jstor.org/terms I I t % I 0 low I i t FA JI I 4 % t 11 p Figure 9. Jiang Feng, Kill Those Who Demand Resistance, 193 1, woodblock print (Jiang 1983:v). Figure 10. Li Keran, Model Workers and Peasants Enjoy a Day's Outing in Beihai Park, 1951, new year's picture, 111 X 169 cm (CP 1952, 1:n.p.). _~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ =: * Am~~~~~~~~~_L~~#A 4, A 583 This content downloaded from 74.217.196.82 on Fri, 12 Aug 2016 21:03:08 UTC All use subject to http://about.jstor.org/terms Figure 11. Li Keran, West Lake, Hangzhou (Santan yinyue), guohua, 111 X 169 cm (MS 1954, 10:26). 3 l _ _A_~~~58 'mi f,., Figure 12. Fang Zengxian, Every Grain is Hard Work, 1933, guohua (CL Figure 13. Xie Zhiliu, Gibbon, 19.7-7 10)i 15 guoha. (MS 1936, 62). This content downloaded from 74.217.196.82 on Fri, 12 Aug 2016 21:03:08 UTC All use subject to http://about.jstor.org/terms C01 -4 c~~~~~~~~~~~ ~~~- A ~~oo~~ M0 i cI04 ~~~~00S g* CZ 0 '-4 ~ ~ ~ ~ ~ ~ ~ ~ ~ ~~~~~ oo~4 - ~~~~~~~ ~~~~~~~~~~Z v 0~~~ ..... ~ ~ ~ ~ ~ ~ ~ ~ ' ..... .. ...... E . * ... .. .. .-;. - ...,1 .... ... ... * *,.... .; ,S...... .0 .... ....!ri ..; .. :.. .. .... .... .... .. ^I ...... ;....... ... ........ ... .... .. ::.._ ... : : . .. ....... r/m/m/alwov~~ ~~~~~.......... .......... .......... S .............. .. ..... ...... ... ....,. ..:: ............... *.;...... ..... .............. ... .. _...... ... ............ ... ... ... ... ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~.....*:~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. ........ .... , .. .. .::..... :. ...... ..... ....... * '' ts ' ' ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. .> ;..? @-''. .. ..: *....' .'M'''?..'. '....'. ....~~ ~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~...... 585 gij4''''.l/'jil ,;............. This content downloaded from 74.217.196.82 on Fri, 12 Aug 2016 21:03:08 UTC All use subject to http://about.jstor.org/terms Figure A. Kang Youwei, Calligraphy, reproduced in Robert Ellsworth, Later Chinese Painting, vol. 3, | | I ' :'. ::;:..;..x p. 149 Figure B (below). Hu Yiquan, Ox and Plough, 1943, color woodcut, reproduced in Li Shusheng, Zhongguo meishu tongshi: ]inxiandai meishu (A General History of Chinese Art: Modern and Contemporary Art), 1988, vol. 10, plate 17. l l * _~ ~ ~~~~~8 Illusterations on this pagep are from books dliscuss.ed in hthe following article by Ralph Croizier. This content downloaded from 74.217.196.82 on Fri, 12 Aug 2016 21:03:08 UTC All use subject to http://about.jstor.org/terms Art and Society in Modern China- A Review Article RALPH CROIZIER U NTIL RECENTLY, modern Chinese art attracted little scholarly attention, either in China or in the West. Western art historians might occasionally glance at the more traditional kinds of painting in the twentieth century, but their serious pub- lications were on the great periods of Chinese art, Ming or before. The contemporary China-watchers-social scientists and modern period historians-trained their gaze on the harder stuff of politics and economics, ideology and organization. In the United States and the West in general, art seemed to slip through the crack between ACLS- and SSRC-funded research projects. In China, anything on the twentieth century, even art, was too sensitive politically for safe handling. The result was that throughout the Maoist years modern Chinese art could occasionally pique the in- terest of collectors or dealers outside China or draw carefully calculated praise from critics and publicists within, but it was not a promising area for critical scholarship. Michael Sullivan's pioneering survey, Chinese Art in the Twentieth Century, London and Berkeley, 1959-strong on developments in the later Guomindang period when Ralph Croizier is Professor of History at the University of Victoria. COHEN, JOAN LEBOLD. The New Chinese Painting, 1949-1986. New York: Harry N. Abrams, 1987, 167 pp. ($19.95 soft cover) ELLSWORTH, ROBERT. Later Chinese Painting and Calligraphy, 1800-1950. New York: Random House, 1986, 3 vols. ($850) KAO MAYCHING, ed. Twentieth-Century Chinese Painting. Hong Kong: Oxford Uni- versity Press, 1988, 258 pp. ($60) LAING, ELLEN JOHNSTON. The Winking Owl: Art in the People's Republic of China. Berkeley: University of California Press, 1988, 188 pp. ($45) Li SHusHENG,chief ed. Zhongguo meishu tongshi: jinxiandai meishu [A General His- tory of Chinese Art: Modern and Contemporary Art] Ji'nan: Shandong jiaoyu chubanshe, 1988, vol. 10, 436 pp. (29.60 yuan) STRASSBERG, RICHARD E. Beyond the Open Door: Contemporary Paintings from the People's Republic of China. Pasadena, Calif.: Pacific Art Museum, 1987, 73 pp. ($16.95 soft cover) ZHANG SHAOXIA and Li XIAOSHAN. Zhongguo xiandai huihuashi [A History of Contemporary Chinese Paintings]. Nanjing: Jiangsu meishu chubanshe, 1986, 364 pp. (5.90 yuan). The Journal of Asian Studies 49, no. 3 (August 1990):586-602. C) 1990 by the Association for Asian Studies, Inc. 587 This content downloaded from 74.217.196.82 on Fri, 12 Aug 2016 21:03:08 UTC All use subject to http://about.jstor.org/terms 588 RALPH CROIZIER he was in China, but understandably rather out of touch with the main currents in the People's Republic remained for almost thirty years the sole monument in a neglected field. In the 1980s, the situation began to change. The reasons are both peculiar to the art field itself and more generally part of China's remarkable internal and ex- ternal changes in the post-Mao period. To mention the more general factors first, liberalization within China made possible a sudden upsurge of artistic activity with an accompanying new vitality in art criticism and history. Simultaneously, the opening to the West brought in new stimuli at every level, changing the way Chinese look at art and art history. As for Western scholars, the open door and liberalization have permitted access to hitherto unavailable materials both from before and after 1949. This has been especially crucial for research on modern art history, where most of the primary sources (art works, artists, and criticism) remained within China. It might be pos- sible to study Song or Yuan painting from museum collections in Kansas City or Taibei, and modern Chinese fiction could be read abroad, but to see and understand most of twentieth-century Chinese art you had to get to China. By the eighties, Westerners finally could do that, just as Chinese artists and art historians were themselves entering previously "forbidden zones." Under these new circumstances, modern Chinese art has started to emerge as an intellectually respectable and aesthetically rewarding field of study. A number of Chinese
Load more

Recommended publications
  • The Case for 1950S China-India History
    Before 1962: The Case for 1950s China-India History The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Ghosh, Arunabh. 2017. Before 1962: The Case for 1950s China-India History. The Journal of Asian Studies 76, no. 3: 697-727. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41288160 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#OAP DRAFT: DO NOT CITE OR CIRCULATE Before 1962: The Case for 1950s China-India History Arunabh Ghosh ABSTRACT China-India history of the 1950s remains mired in concerns related to border demarcations and a teleological focus on the causes, course, and consequence of the war of 1962. The result is an overt emphasis on diplomatic and international history of a rather narrow form. In critiquing this narrowness, this paper offers an alternate chronology accompanied by two substantive case studies. Taken together, they demonstrate that an approach that takes seriously cultural, scientific and economic life leads to different sources and different historical arguments from an approach focused on political (and especially high political) life. Such a shift in emphasis, away from conflict, and onto moments of contact, comparison, cooperation, and competition, can contribute fresh perspectives not just on the histories of China and India, but also on histories of the Global South. Arunabh Ghosh ([email protected]) is Assistant Professor of Modern Chinese History in the Department of History at Harvard University Vikram Seth first learned about the death of “Lita” in the Chinese city of Turfan on a sultry July day in 1981.
    [Show full text]
  • Ists As All Embellishments Fade, Freshness Fills the Universe
    Xu Wei and European Missionaries: As All Embellishments Fade, Freshness Fills Early Contact between Chinese Artists the Universe - The Formation and Development and the West of Freehand Flower-and-Bird Ink Paintings of Chen Chun and Xu Wei Chen Ruilin 陳瑞林 Chen Xiejun 陳燮君 Professor Director and Researcher Academy of Fine Arts, Tsinghua University Shanghai Museum The period encompassing the late Ming and early Qing Dynasty in the 16th and 17th centuries was an era When considering the development of flower-and-bird paintings in the Ming Dynasty, the most remark- of momentous change in Chinese society. It was also an era of great change in Chinese painting. Literati art- able is the achievements of freehand flower ink paintings. Of all artists, Chen Chun and Xu Wei have been ists gathered under the banners of a multitude of different Schools, and masterful artists appeared one after the most groundbreaking and inspirational, to the extent that they are known as “Qing Teng and Bai Yang” another, producing a multitude of works to greatly advance the development of Chinese painting. As literati in the history of Chinese painting. Chen Chun, a foremost example of the “Wu Men” painting school, sought art developed, however, Western art was encroaching upon China and influencing Chinese painting. The suc- inspiration in landscapes and flowers. In particular, he inherited the tradition of flower-and-bird ink painting cession of European missionaries that came to China brought Western painting with them and, actively inter- established by Shen Zhou and other preceding masters. Through a combination of uninhibited brushwork acting with China’s scholar-officials in the course of their missionary activities, introduced Western painting and ink he established a new mode in his own right, which emphasized vigour and free style.
    [Show full text]
  • Why China Cannot Adopt Capitalism
    A CHINESE WEEKLY OF NEWS AND VIEWS Why China Cannot Adopt Capitalism Peace and Disarmament m Construction Site. Photo by Sun Chengyi Beijing HIGHLIGHTS OF THE WEEK VOL. 30, NO. 13 MARCH 30, 1987 CONTENTS NOTES FROM THE EDITORS 4 Macao to Return to China EVENT5AREN0S 5-9 'Sunday Engineers' Help Farmers p. 24 p. 20 Prosper Managers Receive In-Service Training Skvserapcrs Pose Problems lo Deng on the Recent Events Boning Self-Scrvice Stores: Can They • This article from the enlarged edition of Deng's Selected Survive? Works, deals with two major events — student unrest and the Energy Building in ihc Rural replacement of the Party General Secretary. In spite of these Areas events, there will be no change in the Party's line, principles and Weekly Chronicle (March 16-22) policies, says Deng (p. 33). INTERNATIONAL 10-13 Macao's Return Is Finalized Debt Problem: Mutual Compro-, • After eight months of negotiations, China and Portugal mise: the Only Way Out finally reached an agreement on the question of Macao, (Moup of 77: r.con(>niic Strategy another step towards the reunification of China (p. 4). In ihc Making Albania: Focus on Fconomic Developtnent China Spells Out Its Stand on Disarmament The United States: Weinberger s lli-Fated Visit • At a Beijing World Disarmament Campaign meeting sponsored by the UN, Chinese Vice-Foreign Minister Qian Qichen expounded China's nuclear policy and expressed the Worlfl Peace and Disarmament 14 government's concern about the spread of the arms race into NPC: Its Position and Roie 17 outer space. He also pointed out the relationship between The Election Process In Ttanjin 22 nuclear and conventional disarmament and urged the Why Capttafism is Impractical in superpowers to take the lead in all types of disarmament (p.
    [Show full text]
  • 2019 Year Book.Pdf
    2019 Contents Preface / P_05> Overview / P_07> SICA Profile / P_15> Cultural Performances and Exhibitions, 2019 / P_19> Foreign Exchange, 2019 / P_45> Academic Conferences, 2019 / P_67> Summary of Cultural Exchanges and Visits, 2019 / P_77> 「Offerings at the First Day of Year」(detail) by YANG Zhengxin Sea Breeze: Exhibition of Shanghai-Style Calligraphy and Painting Preface This year marks the 70th anniversary of the founding of the People’s Republic of China. Over the past 70 years, the Chinese culture has forged ahead regardless of trials and hardships. In the course of its inheritance and development, the Chinese culture has stepped onto the world stage and found her way under spotlight. The SICA, established in the golden age of reform and opening-up, has been adhering to its mission of “strengthening mutual understanding and friendly cooperation between Shanghai and other countries or regions through international cultural exchanges in various areas, so as to promote the economic development, scientific progress and cultural prosperity of the city” for more than 30 years. It has been exploring new modes of international exchange and has been actively engaging in a variety of international culture exchanges on different levels in broad fields. On behalf of the entire staff of the SICA, I hereby would like to extend our sincere gratitude for the concern and support offered by various levels of government departments, Council members of the SICA, partner agencies and cultural institutions, people from all circles of life, and friends from both home and abroad. To sum up our work in the year 2019, we share in this booklet a collection of illustrated reports on the programs in which we have been involved in the past year.
    [Show full text]
  • Powers C.V. November 20 2020
    March, 2020 Martin Joseph Powers Professor Emeritus, University of Michigan E-mail: [email protected] Education: Ph.D. 1978 University of Chicago, Department of Art History M.A. 1974 University of Chicago, Department of Art History B.A. 1972 Shimer College, Illinois Professional Employment: University of Michigan, Ann Arbor 1999-2018 Sally Michelson Davidson Professor of Chinese Arts and Cultures, 1988 – 1999 Associate Professor, Department of the History of Art University of California, Los Angeles 1985-1988 Associate Professor, Department of Art History 1978-1985 Assistant Professor, Department of Art History 1977-1978 Visiting Professor, Department of Art History Awards; Appointments: 2020, Jan.—Dec. Honorary Professor, Guangzhou Academy of Fine Arts 10/1/19—6/15/2020 Visiting Professor, University of Chicago 1/1/19-6/15/19 Visiting Professor, University of Chicago 10/1/17-05/16/18 Visiting Professor, University of Chicago 2013 (Spring) The China Academy of Art, the Pan Tianshou Memorial Lectures (4) 2012 (Spring) Tsinghua University, the Wang Guowei Memorial Lectures (8) 2011 Center for Advanced Study in the Visual Arts Mellon Fellow, declined. 2008-2009 Fellow, School of Historical Studies, Princeton Institute for Advanced Study 2008 Joseph Levenson Prize for the best book on pre-1900 China 2006 - 2009 Member, CASVA Board of Advisors 2007 Innaurugal lecture, Shih Hsio-yen Endowed Lecture Series, Hong Kong University 2006 – 2008 (Summer) Visiting Professor, History Department, Tsinghua University 2005 (Summer) Weilun Visiting Professor, History, Tsinghua University 2000 (Summer) Resident Faculty, Summer Institute for World Art Studies, University of East Anglia 1999-2018 Sally Michelson Davidson Professor of Chinese Arts and Cultures 1997 The Sammy Lee Endowed Lecture, U.C.L.A.
    [Show full text]
  • China Daily 0803 D6.Indd
    life CHINA DAILY CHINADAILY.COM.CN/LIFE FRIDAY, AUGUST 3, 2012 | PAGE 18 Li Keran bucks market trend The artist has become a favorite at auction and his works are fetching record prices. But overall, the Chinese contemporary art market has cooled, Lin Qi reports in Beijing. i Keran (1907-89) took center and how representative the work is, in addi- stage at the spring sales with tion to the art publications and catalogues it two historic works both cross- has appeared in.” ing the 100 million yuan ($16 Though a record was set by Wan Shan million) threshold. Hong Bian, two other important paintings by His 1974 painting of former Li were unsold, which came as no surprise for Lchairman Mao Zedong’s residence in Sha- art collectors like Yan An. oshan, the revolutionary holy land in Hunan “Both big players and new buyers are bid- province, fetched 124 million yuan at China ding for the best works of the blue-chip art- Guardian, in May. ists, while the market can’t provide as many Th ree weeks later his large-scale blockbust- top-notch artworks and provide the reduced er of 1964, Wan Shan Hong Bian (Th ousands risks that people expect. of Hills in a Crimsoned View), was sold for a “Th is is because in the face of an unclear personal record of 293 million yuan at Poly market, cautious owners would rather keep International Auction. those items, which achieved skyscraping Li, a prominent figure in 20th-century prices, rather than fl ip them at auction,” Yan Chinese art, is recognized for innovating the says.
    [Show full text]
  • Behind the Thriving Scene of the Chinese Art Market -- a Research
    Behind the thriving scene of the Chinese art market -- A research into major market trends at Chinese art market, 2006- 2011 Lifan Gong Student Nr. 360193 13 July 2012 [email protected] Supervisor: Dr. F.R.R.Vermeylen Second reader: Dr. Marilena Vecco Master Thesis Cultural economics & Cultural entrepreneurship Erasmus School of History, Culture and Communication Erasmus University Rotterdam 1 Abstract Since 2006, the Chinese art market has amazed the world with an unprecedented growth rate. Due to its recent emergence and disparity from the Western art market, it remains an indispensable yet unfamiliar subject for the art world. This study penetrates through the thriving scene of the Chinese art market, fills part of the gap by presenting an in-depth analysis of its market structure, and depicts the route of development during 2006-2011, the booming period of the Chinese art market. As one of the most important and largest emerging art markets, what are the key trends in the Chinese art market from 2006 to 2011? This question serves as the main research question that guides throughout the research. To answer this question, research at three levels is unfolded, with regards to the functioning of the Chinese art market, the geographical shift from west to east, and the market performance of contemporary Chinese art. As the most vibrant art category, Contemporary Chinese art is chosen as the focal art sector in the empirical part since its transaction cover both the Western and Eastern art market and it really took off at secondary art market since 2005, in line with the booming period of the Chinese art market.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedtbrough, substandard margin*, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g^ maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Beil & Howell Information Company 300 North Zee0 Road. Ann Arpor. Ml 48106-1346 USA 313/761-4700 800:521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission.
    [Show full text]
  • Masterwork by Li Keran to Take Centre Stage in Christie’S Hong Kong Modern Chinese Paintings Sale
    For Immediate Release 7 May 2007 Press Contact: Victoria Cheung 852.2978.9919 [email protected] Dick Lee 852.2978.9966 [email protected] MASTERWORK BY LI KERAN TO TAKE CENTRE STAGE IN CHRISTIE’S HONG KONG MODERN CHINESE PAINTINGS SALE Li Keran (1907-1989) All the Mountains Blanketed in Red Scroll, mounted and framed Ink and colour on paper 131 x 84 cm. Dated autumn, September 1964 Estimate on request Fine Modern Chinese Paintings 28 May 2007 Hong Kong – An impressive selection of works by leading Chinese artists including Li Keran will be offered in the Fine Modern Chinese Paintings sale at Christie’s Hong Kong on 28 May. The works on offer will amaze art collectors with their exceptional quality and captivating themes. Also included in the sale are paintings of impeccable provenance from private collections. In this Spring auctions series, Christie's Hong Kong will introduce a real-time multi-media auction service Christie’s LIVE™, becoming the first international auction house in Asia to offer fine art through live online auctions. Christie’s LIVE™ enables collectors around the world to bid from their personal computers while enjoying the look, sound and feel of the sale. The star lot of the sale is All the Mountains Blanketed in Red by Li Keran (1907–1989) (Estimate on request, Lot 1088). From 1962 to 1964, Li produced a series of seven paintings that took on the theme of ‘All the mountains are blanketed in red and forests are totally dyed’, a phrase from Mao Zedong’s (1892–1976) poem Chang Sha (To the Tune of Spring Beaming in a Garden).
    [Show full text]
  • TENG%Yuning's
    TENG%Yuning’s%Resume Personal)Information E"mail:([email protected] Mobile:(86"13810000598 Address(O):52(Yannan(Yuan,(Peking(University,(Beijing,(100871,(China. Tel(O):86"10"62767071 Education "( PhD(Candidate(in(Art(History(at(the(University(of(Hamburg,(Germany.(2017"( "( Master(of(Studies(in(Fine(Arts,(School(of(Arts,(Peking(University,(2005"2008() "( Bachelor( of( Arts( in( Film( and( TV( Program( Editing( and( Directing,( School( of( Arts,( Peking( University,( 2001"2005() Work)Experience ) Deputy)Director,)Centre(for(Visual(Studies(of(Peking(University,(2009"Now. Teng% works% at% Center%for%Visual%Studies%Peking%University%(CVS)% which% is% a% national% base% for% the% research% of% traditional%Chinese%art,%Chinese%contemporary%art%and%world%art%history.% As%the%deputy%director% there,%Teng ’s% main%academic%responsibility%is%managing%the%Chinese%Modern%Art%Archive%(CMAA),%which%collects%and%archives% Chinese%Contemporary%Art%dating%back%to%1986,%establishes%onIline% database,% hosts% academic% study% projects,% professional%exhibitions,%international%forums%and%seminars,%etc.% ( Executive)Editor;in;Chief,)Annual&of&Contemporary&Art&of&China,(2008"Now.(Before(that,(work)as( editor((11/2005"09/2006)(and(Director(of(Editing(Affairs,(09/2006"2008.( ( Vice)Secretary;General,(Wu(Zuoren(International(Foundation(of(Fine(Arts(WIFA),(2013"Now.( Major)Member)of)CIHA;China)Secretariat,)2012"Now,)and)Junior)Chair)of)the)Session)11,) “Landscape)and)spectacle”)of)CIHA2016,)2016.)) ) AICA)Member,)Member(of(the(International(Association(of(Art(Critics((AICA),(2018"Now)
    [Show full text]
  • Cambridge University Press 978-1-107-02450-2 — Art and Artists in China Since 1949 Ying Yi , in Collaboration with Xiaobing Tang Index More Information
    Cambridge University Press 978-1-107-02450-2 — Art and Artists in China since 1949 Ying Yi , In collaboration with Xiaobing Tang Index More Information Index Note: The artworks illustrated in this book are oil paintings unless otherwise stated. Figures 1–33 will be found in Plate section 1 (between pp. 49 and 72); Figures 34–62 in section 2 (between pp. 113 and 136); Figures 63–103 in section 3 (between pp. 199 and 238); Figures 104–161 in section 4 (between pp. 295 and 350). abstract art (Chinese) 163, 269–274, art market see commercialization of art 279 art publications (new) 86, 165–172 early 1980s 269–271 Artillery of the October Revolution 42 ’85 Movement –“China/Avant-Garde” Arts and Craft Movement 268 269–271 Attacking the Headquarters (Fig. 27) 1989 – present (post-modern) stage 273 avant-garde art (Chinese) 141, 146, 169, conceptual abstraction 273–274, 277–278 176, 181, 239, 245, 258, 264–265 expressive abstraction 273–274, 276 see also “China/Avant-Garde” material abstraction 277 exhibition schematic abstraction 245, 274 avant-garde art (Russian) 3–4 abstract art (Western) 147–148, 195–196, avant-garde art (Western) 100, 101, 267–268 see also Abstract 255–256, 257, 264 see also Modernism Expressionism; Hard-Edge / Structural Abstraction Bacon, Francis 243 Abstract Expressionism 256, 269, 274 Bao Jianfei 172 academic realism 245, 270 New Space No.1 167 academies see art academies Barbizon School 87 Ai Xinzhong 14 Bauhaus School 269 Ai Zhongxin 5 Beckmann, Max 246 amateur art/artists 35, 74–75, 106–108, Bei Dao 140 137–138, 141,
    [Show full text]
  • Diplomarbeit Daniela Dahlke
    DIPLOMARBEIT Titel der Diplomarbeit „Der Sozialistische Realismus in der VR China unter Mao Zedong und in der DDR, 1949-1976 - ein Vergleich.“ Verfasserin Daniela Dahlke angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, im September 2009. Studienkennzahl lt. Studienblatt: A 315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuerin: Univ.-Doz. Dr. phil. Dr. habil. Jorinde Ebert 1 * Gewidmet: All jenen Künstlern, die im Gefecht der Politik mit der Kunst ums Leben kamen. * Der Geist macht den Menschen zum Menschen. Zum Menschen, doch die Kunst zielt darauf hin, das Übermenschliche auszusagen. Sie ist Intuition. Sie ist der reine Ausdruck jener unbegreiflichen Kraft, die universal wirkt und die wir deshalb das Universale nennen können. Piet Mondrian 2 Inhaltsverzeichnis Vorwort S. 3 1. Einleitung: 1.1. Thema S. 4 1.2. Methode S. 5 1.3. Forschungsstand S. 6 2. Die Kunstdoktrin des Sozialistischen Realismus 2.1. Die Anfänge in Russland/ Sowjetunion S. 8 2.2. Umrisse des Sozialistischen Realismus in der DDR: Weimarer Republik und Sowjetische Besatzungszone (SBZ) S. 13 2.3. Der Sozialistische Realismus innerhalb der chinesischen Kunst des 20. Jahrhunderts S. 17 2.4. Zusammenfassung: Charakteristika des Sozialistischen Realismus sowjetischer Prägung S. 24 3. Die Volksrepublik China und die Deutsche Demokratische Republik 3.1. Kulturpolitik VR China, 1949-1976. S. 27 3.1.1. Erste Phase: Reformen und Optimismus, 1949-1956. S. 28 3.1.2. Zweite Phase: Unsicherheit, 1957-1965. S. 32 3.1.3. Dritte Phase: Frustration in der Kulturrevolution, 1966-1976. S. 35 3.1.4. Zusammenfassung: Höhen, Tiefen und Stillstand in der Kulturpolitik der VR China S.
    [Show full text]